f the particular lines employed, their
distinctive character may readily be inferred from the kind of motion
given to the eye in the descriptions we have attempted. In the
rapid, abrupt, contrasted, whirling movement in the one, we have an
exposition of an irregular combination of curves and angles; while the
simple combination of the parabola and the serpentine will account for
all the imperceptible transitions in the other.

It would be easy to accumulate examples from other Artists who differ
in the economy of line not only from these but from each other; as
Raffaelle, Michael Angelo, Correggio, Titian, Poussin,--in a word,
every painter deserving the name of master: for lines here may be
called the tracks of thought, in which we follow the author's mind
through his imaginary creations. They hold, indeed, the same relation
to Painting that versification does to Poetry, an element of style;
for what is meant by a line in Painting is analogous to that which
in the sister art distinguishes the abrupt gait of Crabbe from the
sauntering walk of Cowley, and the "long, majestic march" of Dryden
from the surging sweep of Milton.

Of Continuity little needs be said, since its uses are implied in the
explanation of Line; indeed, all that can be added will be expressed
in its essential relation to a _whole_, in which alone it differs
from a mere line. For, though a line (as just explained) supposes a
continuous course, yet a line, _per se_, does not necessarily
imply any relation to other lines. It will still be a line, though
standing alone; but the principle of continuity may be called
the unifying spirit of every line. It is therefore that we have
distinguished it as a separate principle.

In fact, if we judge from feeling, the only true test, it is no
paradox to say that the excess of variety must inevitably end in
monotony; for, as soon as the sense of fatigue begins, every new
variety but adds to the pain, till the succeeding impressions are at
last resolved into continuous pain. But, supposing a limit to variety,
where the mind may be pleasurably excited, the very sense of pleasure,
when it reaches the extreme point, will create the desire of renewing
it, and naturally carry it back to the point of starting; thus
superinducing, with the renewed enjoyment, the fulness of pleasure, in
the sense of a whole.

It is by this summing up, as it were, of the memory, through
recurrence, not that we perceive,--which is instant